A powerhouse revival for a classic-rock icon

November 08, 2007|Jonathan Perry, Globe Correspondent

John Fogerty's dramatic appearance at the Orpheum Theatre Tuesday night, emerging as an apparition on a riser that lifted him high above the stage, made for an entrance almost as towering as his legacy.

Not many artists can make such a claim from a prime body of work traversing four short years, but then Fogerty isn't most artists. During his halcyon days leading Creedence Clearwater Revival, the swamp-boogie outfit crammed 13 hit singles into its 1968-'72 run while sounding like absolutely nothing else on the radio. CCR's absence has done little to diminish its power as one of America's most beloved bands.

So there was Fogerty, a lone figure in flannel work shirt, jeans, and electric guitar at his side, standing before a backdrop depicting endless wheat fields - the iconic cover of his new solo album, "Revival," come to life. A little corny perhaps, but a foretelling of what was in store for the next two hours and two dozen-plus songs: the man and that legacy unfurled, freed from the confines of classic-rock radio, and brought back to raucous, rollicking life.

After opening solo with "River Is Waiting," a meditative call-to-arms from his strong new album (the bulk of which he performed), Fogerty crashed back down to earth amid his fierce five-piece band, right where he belonged. Anchored by longtime John Mellencamp drummer Kenny Aronoff and a crack crew, Fogerty blasted full-bore into the ancient Little Richard rave-up, "Good Golly Miss Molly," which demonstrated that at the similarly ancient rock 'n' roll age of 62, Fogerty had lost not one iota of his powerhouse voice.

Meanwhile, his alternately steely, swampy, and soaring guitar leads on hearth-roasted rock chestnuts like "Born on the Bayou" and "Green River" made one wonder if Fogerty has ever played better guitar. Softer-spoken songs such as the graceful, evergreen "Who'll Stop the Rain," and the new redemptive ballad, "Broken Down Cowboy" ("about a guy I used to be"), were lovely requiems.

The only misstep was the new, nostalgic "Summer of Love," whose mothballed subject matter was so shopworn that even a songwriter of Fogerty's caliber could not save it. But much of the new material felt utterly vital: With the stinging antiwar potboilers "Long Dark Night" and "I Can't Take It No More," Fogerty took pointed aim at the Bush administration and added to his catalog of protest songs calling out abuses of governmental power and privilege.

The cumulative effect was a masterful, triumphant concert that fused Fogerty's spirit, songs, and showmanship into an indomitable, indelible whole. It was a satisfying set for those who came to see and hear the old man down the road - still travelin', still chooglin'.

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